Tribeca Film Festival (at home) l Days 11 and 12: We Need to Do Something; Like a Rolling Stone: the Life and Times of Ben Fong-Torres; Souad; Wild Men

 Since the festival is almost over, I'm trying to watch everything I want to see before it's gone. There's no connecting themes for this group of films that I can think of. 

We Need To Do Something 

Of course I watched We Need to Do Something late at night as a thunderstorm was rolling in. That may not have been the best idea, since it's a horror movie about a family who gets trapped in their bathroom for several days after a tornado causes a tree to fall across the door. Most of the real horror is generated by the simple fact of being locked in a small space with a hostile and unpredictable alcoholic father, played brilliantly by Pat Healy. However, the supernatural elements simultaneously increase the experiences of terror and shock, and reduce the more depressing family drama. The result is a campy and scary film with a darker undertone. All that unrealistic spurting blood and the flashbacks to creepy witchcraft rituals saved this movie from being so dark as to be unpleasant. The resulting "over the top" experience reminded me of  the vibe of Drag me to Hell, which manages to be psychologically scary and visually absurd at the same time.  I watched the Q&A for this one as well, and the story of how the movie came to be was almost as weird and funny as the movie itself. It's the first time Max Booth III has written a script; because as he said in the Q&A he's a "book guy." The story is based on a novella he'd written, and he claims to have written the sreenplay to make some money after he lost his regular gig in a hotel to the Corona virus shutdown. The horror of a family trapped together with an unknown horror outside obviously speaks to the real terror of the covid-19 pandemic as well, so this movie is a product of the last horrific year of human history on several levels. While it's gotten mixed reviews at the outset, I think there's a lot going on under the surface of this movie that makes it worth watching - if you can take fairly fake looking 'gross out' horror. 

Like a Rolling Stone: The Life and Times of Ben Fong-Torres

If you ever wondered why Rolling Stone magazine went down hill as a music magazine in the 1980s, it's probably because they lost reporter, Ben Fong-Torres, the magazine's original music editor, and author of major profiles based on long interviews with Jim Morrison, Ray Charles, Marvin Gaye,and other great musicians of the 1960s and 1970s. As the title says, Suzanne Joe Kai's The Life and Times of Ben Fong-Torres tells Fong-Torres' life story, starting with parents, who were Chinese immigrants in the 1940s. The story of his name alone is a history lesson about U.S. immigration policy. Because of the Chinese exclusion act, which was in place until 1943, Fong-Torres's father, Fong Kwok Seung, entered the country with a Fillipino passport using the name "Ricardo Torres." From that beginning to the end, the movie is fascinating because Fong-Torres has a fascinating life story. The film doesn't just focus on his time at Rolling Stone, but shows his connection to the Bay Area Chinese American community, his education in journalism on his high school newspaper and at San Francisco State, and his activities outside the rock scene. For example, even when he was one of three editors of Rolling Stone at is peak, Fong-Torres  also volunteered his time as a writer and editor to the East-West, a Chinatown neighborhood newspaper. After leaving  Rolling Stone, shortly after it moved its headquarters to New York in the 1980s, Fong-Torres continued to work as a journalist and community activist, and the film follows him to the present day. The final edit on the film must have been recent, because at one point, you see him working on this column, The Year of the Rat which was published in April 2021. Fong-Torres seems to have been able to do great interviews with legendary people because he's just a cool, unassuming guy who's interested in all kinds of people. The movie isn't formally innovative -there's some very familiar 60s-signifying footage unconnected to Fong-Torres's direct comments and a lot of talking heads -  but Kai made a good choice to play the audio recordings of some of Fong-Torres's most famous interviews over archival footage from the 1960s as well. 

Souad

I was a bit disappointed by the film Souad whose two lead actresses, playing Souad and her sister, Rabab, won the international best actress jury award at the festival this year. The film is fairly simple, but its climactic moment comes too soon and the second half of the film feels drawn out and meandering. The scenes with Souad and her friends were fascinating, and there could have been more of them to really explore the tension between the religious expectations of Souad's parents and the dynamic life of her peers, which isn't just about social media, but sexuality and attraction to a more secular life. 

Wild Men 

Wild Men surprised me in the opposite direction, surpassing my expectations. I was a bit dubious about another film in the festival that was "exploring masculinity," but this one's sometimes comic and sometimes wise representations of men trying to figure out how to survive contemporary life - and mostly getting things wrong - really worked. It wound up as one of my favorite films of the festival. I love a tightly-plotted story, and I saw no loose-threads and heard no wrong notes in this Danish comedy / thriller that pokes fun at the current pop-culture craze for Vikings. Between direction and editing, the timing was perfect, and the acting spot-on. I wasn't familiar with the actors playing the lead characters Martin (Rasmus Bjerg) and Musa (Zaki Youssef), two men who improbably find themselves trying to survive in the wilderness together, but I was happy to see Sofie Grabol, (of the Killing) as Martin's wife. It makes sense that this is not film-maker Thomas Daneskov's first film - that was his 2015 feature, The Elite for which he won a "new talent" award. He also had one run of a TV series called Joe Tech that appears to explore similar themes, but it's not available to stream in the U.S. I hope that American audiences will get a chance to see more of his work, and that this movie will be distributed in the U.S., whether in theaters or on a streaming platform. It seems to me to have all the requirements for a "sleeper" and "surprise hit" - if U.S. audiences are willing to read subtitles. From the reviews I've seen so far, it seems like some of the barbed wit of this film missed a lot of the critics, so I'm not feeling optimistic, which is too bad. At least this might mean we won't have to suffer from a hamfisted American remake.

Tribeca Film Festival (At Home) - Day 10 The Justice of Bunny King and Roaring '20s

 The critical raves about Essie Davis's performance in The Justice of Bunny King are well deserved. This was an amazing performance in a challenging role. The movie follows the character Bunny King, who has lost her children to New Zealand's child protective services for reasons that aren't clear until the vey end of the film. On the way to that point, we see Bunny, who spends her days washing windshields for spare change, trying everything she can to get her children back. The pace becomes frenetic as Bunny tries to keep the promise she makes to her daughter, that they will be together for her fifth birthday - a promise that her older son knows that she can't keep. The film's title is an interesting choice, as it generally shows the injustice of child protective services in New Zealand. As Bunny says at one point, mimicking the social workers who interview her periodically during the film, "sorry, we won't let you see your kids because you're too poor!" While the specificities of the law may be about New Zealand's policies around housing and family law, the larger story of how the capitalist state fails to adequately address sexism within the family and punishes women for things beyond their control will sadly be familiar to people across the globe. 

Roaring 20's stands out for the technical prowess of the filmmaker. The film goes from one conversation to another on the street in Paris in the summer of 2020 and was shot in only 6 takes. This makes for an interesting film to watch, though part of what you wind up thinking about is the timing that must have been involved in getting the people in place to pick up the next conversation. Beyond the gimmick of the shooting, the substance was pretty light. The individual vignettes were uneven, and the lack of connection or theme across the stories made it less interesting than the film it's been compared to the most, Richard Linklater's Slacker. Unlike that film, I thought that this movie about Paris mostly lacked a real sense of place, with the exception of one pair discussing the Belleville neighborhood, and even that is mostly done through the exposition rather than the visual narrative. Much of what happens and the people we encounter could be in any city - what is so Parisian about this, after all? And if there is nothing unique about the city in this moment, why bother to make such a film to capture its utterly bland character? I also found this movie disappointing because while it could make a comment about a moment in time, if not a specificity of place, it doesn't really do that either. Despite the occasional acknowledgment of the Covid-19 pandemic through the wearing of masks, there was almost no conversation about the virus itself, or about what people did to make it through the recently ended lockdown. Not even one character remarks on what a relief it is to be out and about again! No one mentions a dead or sick friend or relative. If the filmmaker wanted the conversations to be normal and not about Covid, that makes sense as a choice, I guess, but if the whole film is shot so that the only thing uniting the characters is the fact of their being in a specific place at a specific time, it seemed like the choice was a mistake. If a fiction film makes reality less rather than more interesting and meaningful, tant pis. 

Tribeca Film Festival (At Home) Days 8 and 9: Creation Stories, Primera, and God's Waiting Room

Day 8: Creation Stories

  

Creation Stories is about Glaswegian record mogul, Alan McGee, loosely based on his autobiography, Creation Stories describing his life of being inspired by music, making great records and partying. I didn't know anything about McGee when I chose the movie, but I did know a lot of the bands he produced (Jesus and Marychain, My Bloody Valentine, Teenage Fanclub, Primal Scream, Oasis) and was curious to see what kind of screenplay Irvine Welsh would write. The film is a well-paced rock and roll experience that takes considerable liberties with the source material. I liked it a lot, despite the absence of closed-captions on the Tribeca app, which left me and my husband to make our best guesses at some of the dialog. There were a lot of  wonderful scenes in this movie. We see McGee lose his teenaged mind over the Sex Pistols' first TV appearance, the night of his near death from a cocaine overdose (which actually happened during an Oasis tour, and not as depicted in the movie), a more pleasant experience taking ecstasy at his first night of acid house that migrates to a small  breakfast joint. This clip from when the bailiffs come to the studio to collect the rent captures the energy of the film.  I hope this one comes out in theaters - all that sound and color is worth a big screen. 

Day 9: Primera and God's Waiting Room 

The "Primera" in the title of Vee Bravo's documentary about the 2019-2020 Chilean protest movement refers to the "Primera Linea" the front line of militant protestors who march in front to defend the larger mass demonstrations from the aggressive police. This documentary is a great exploration of movement strategy and police repression, as it follows the lives of a handful of members of the Primera Linea who explain how they first got involved in the movement and how it affected their lives afterward. It contextualizes and shows the evolution of a movement from an initial protest against a metro fare-hike to a broad movement to re-write the Chilean constitution. The film may be a bit too long; it has some slow sections, but it is very informative, showing many different types of protest within the larger movement, including a memorable feminist demo when women chant (in Spanish, but according to subtitles) "Bitch! Whore! But I'll Never Be a Cop!"  I'd recommend it to activist groups and for classrooms and university screenings. It reminds me a bit of the Oscar-nominated short documentary, Do Not Split in its structure, but it is longer, creating space for more detailed representation of individual people's daily lives, aside from their participation in street demonstrations. The film includes one character who lost his eye during the protests, and through him we learn about this police tactic in Chile - a tactic that became common in Hong Kong in 2019 and in the United States during the summer 2020 uprising. 

For whatever reason, I departed from my plan and decided to watch the movie God's Waiting Room which did achieve the director's goal of showing both the beauty and "grime" of Florida; I felt sweaty just watching. The film features strong performances from Nisalda Gonzalez, well-chosen for the role of  Rosie, the young singer-songwriter, since she is a singer-songwriter herself, and from the winner of Tribeca's best-actor award, Matthew Leone, who plays the charming drug-dealer, Jules. (Romeo and Juliet, anyone?) I agree with other reviewers who thought that the movie could have worked well if it had stuck to the story of the couple, Rosie's two girlfriends, and her father, rather than adding the element of the recently paroled murderer. Instead, the writer/director literally inserts himself into his own composition like a wrecking ball, playing the parolee and taking the expression "Kill your darlings" far too literally.  Until the ending, this was a nice, hazy story of adolescent boredom, burgeoning sexuality and confusion, and I wish Riggs had figured out a different way to provide closure that would have done justice to the characters. 

  The film was pleasantly and effortlessly bilingual and multicultural, as in almost every scene, we see white working class, African American and Caribbean, and Latinx characters from a variety of backgrounds living, partying and working together, flowing from English to Spanish and back. There were many narrative threads left hanging that he could have picked up and taken to a more meaningful conclusion driven by the conflicts among the central characters, even if it wound up just as (SPOILER ALERT!) tragic for the star-crossed lovers. What happens after you find out that one of your best friends is sleeping with the guy you're dating after she tells you he is a "gross little pizza rat from New York" that you should avoid? What if the attractive bad boy could learn something from Rosie's tough, but caring father? What about the random dude that Rosie wakes up next to after a party?  What about Jules' relationship with his mother, who we see in one scene, working in a bar and getting hassled? Beyond just showing a mix of people of different ethnicities, the movie could have said something deeper about the tensions that might be part of that cultural mix.  We learn that Jules is Puerto Rican and Italian-American, I would guess that Rosie is meant to be Cuban or Mexican, though that wasn't made explicit. Her friends are white and African-American or Afro-Caribbean (not specified). Jules's friends are also white and Black. The girls party with some white skateboarders. There was more than enough drama with the existing mix of characters and events to take this movie somewhere more interesting. Instead, as Andrew Bundy puts in his review at the Playlist,the ending was unbelievably unsatisfying.

Tribeca Film Fest 2021: Day 7 - One Tense Night, or "What IS the best thing young people can do?"

 I wanted to watch No Running because it was one of the few science fiction films in the festival this year, and because of its focus on racial justice, and then, after watching it I decided to pick a second thriller to keep the mood going, and chose the rowing drama, Novice because it was getting a lot of good buzz from critics. I thought both movies were entertaining, if flawed. While the tension in the first film comes from the evil in other people, the second film is a psychological study of the horror people can inflict upon themslves. Before watching them, the comparisons I saw were to the Vast of Night and Black Swan. 

No Running is the story of Black high school student, Jaylen Brown, who has recently moved with his family to an almost all-white town along a nameless river.  It's a mix of social commentary on racism and a suspensful tale of UFO abduction. As the pitch might go in the movie the Player, "Think the Vast of Night meets Get Out. There were some great charming moments and tight suspense sequences in this movie, but it didn't have the science fiction crunchiness of UFO-focused Vast of Night nor the more subtle and sharp analysis of race of Get Out or Lovecraft Country.  Instead of showing us the everyday racism of seeming white liberals, as Get Out did,  or the moore obvious white racism of the Jim Crow era like Lovecraft Country, No Running, though set in the present day, provides us with old-fashioned evil white sheriffs and an unbelievable classroom in which students watch a 50s-era black-and-white film to learn about the history of Reconstruction. It makes it too easy for white audiences to distance themselves from the "bad" characters in the film and, since this town is shown to be almost entirely white, also makes it possible to read the town as a uniquely racist backwater rather than part of a larger, racist U.S. culture. My other critique of this film  (SPOILER ALERT) is that it doesn't do much with the aliens who seem to periodically abduct people from the town.  Are they the saviors of characters from the wicked acts of the evil sheriffs? and if so, then why abduct Jaylen's girlfriend Amira, who unlike other abducted characters, was not in any danger at the time of her abduction? Do the evil sheriffs know about them? And if so, what do they know and why? The scenes with Jaylen and the weird old UFO hunter were great, but there could have been more of them , and they could have led somewhere more interesting. These were hanging plot threads that made the movie less exciting. 

That said, it was nice to see Rutina Wesley (best known as Tara from True Blood) again, playing Jaylen's mother. In fact all the performances in this film were excellent, from Skylan Brooks as the likeable Jaylen, to his obnoxious and more socially savvy little sister, Simone,  played by Diamond White, and even the weird old, UFO-hunting old guy, an actor whose name I can't find. Most of the tension in this film comes from the police hunt for Jaylen and his family's reactions, in scenes that most effectively evoke modern-day racism in criminal justice. 

Against Grit: The Novice 

While also a tense ride, The Novice is all about the horrors that the main character, despite being surrounded by supportive friends and having plenty of privilege, brings upon herself. I had a room-mate who rowed crew in college, so the daily 4:30 am wake-ups before practice took me back to those days, and much of the other elements in this movie rang true to the elite New England college experience. It's not surprising to learn that the film is based on the filmmaker's own experience on a crew team; the interactions between the other rowers are letter-perfect, even when they're happening in the background.   As the critics have said, the performance from the lead actor in this film, Isabelle Fuhrman, is very good as the over-achiever, Alex Dall. Despite not liking her character, I was compelled to keep watching to understand the source of her driven behavior.  Like many of the characters, I found that just watching her was wearing me out - I just wanted her to take a break! What I liked best about this movie was that it flipped the common praise for the grit narrative of today on its head, along with the tropes of the heroic sports genre in general. Consider it the anti-Rudy, where working as hard as possible actually doesn't pay off.  Some of this also relates to the nature of crew as a team sport, where Alex's hyper-individualism is often the real cause of her shortcomings. To that extent, the film may replicate another narrative about competitive sports, where characters are supposed to learn that "there is no 'I' in team." However, this film's not-so-heart-warming tone gives that point a deeper meaning.

Shortly after watching the film, I finally came across the infamous Twitter thread of that professional advising young people to work weekends early in their careers.That woman needs to watch this movie. Like the real-life woman in the thread, Alex Dall thinks hard work is its own reward, but as this film suggests, working until you make yourself sick  actually keeps you from enjoying your life.  Beyond imposing wear and tear on her own body, Dall's ruthless competitiveness and overwork alienate her from other people. As one character tells her at the end, she offered her friendship to Dall, whose behavior on the team becomes a betrayal.  In this case, getting along with others is not a sign of bland conformity, and striving against the "rest" isn't the sign of being a misunderstood and lonely genuis  - it just makes you an asshole. Particularly as it contrasts Alex with Jamie, the student who needs to get on the varsity team to get an athletic scholarship to stay in school, the movie is against rate-busters everywhere. Novice is a perfect film for the post-neoliberal era. 

Tribeca Film Festival Day 6: All My Friends Hate Me

 My adrenaline was very high by the end of All My Friends Hate Me, a film marketed as comedy/horror, which to me suggests something like An American Werewolf in London. This movie is not that! I definitely experienced it as more (psychological) horror than comedy, though I started expecting something truly terrible was going to happen by about 30 minutes in.  I enjoyed the movie, though I think it's the sort of thing that might be more fun in a theater than at home on the couch. I barely recognized the movie I saw when I read this review describing it as a hilarious comedy, and wondered if it has to do with my age, or with the fact that I'm from the US and missed the very British in-jokes, or whether I had to have the right expectations based on knowing the previous work of the film-makers, the team known as Totally Tom. Or, perhaps this movie is some sort of horror/comedy Rorschach test. 

You are probably more likely to find it escalatingly creepy and alarming if you identify with Pete, and more likely to find it escalatingly funny if you can somehow manage being in on the joke from the beginning. I don't know how attitudes about class and snobbery might also affect one's viewing of the film, but I found the group of friends both clueless and insufferable, and that may explain why my experience was closer to the escalating sense of paranoia described in this review from Cineuropa. Looking back at the contrast between the cruelty of many of the jokes, from those attributed to Pete in his own past, or those jokes they play on him during the party weekend, the film can be read as critical comment on comedy itself akin to Hannah Gadsby's Nanette, especially considering the film's final line. Of course, the movie could be more on the side of cruel humor than commenting on it, there's always that possibility. We're all living in the trolls' world now.  

Tribeca Film Festival (at Home) 2021 - the First Four Days

I used to go to the Tribeca Film Festival every year when I lived in New York City, especially because my workplace was in Tribeca, and I learned that I could buy individual tickets to films. Why not, right? I learned quickly that it was much too hard to get into the big headliners, which would come out in theaters anyway. In the early 00s, it made sense to see the smaller films that might never get major distribution. The most memorable film I saw in those early years was the 2003 documentary about the origins of the song "Uska Dara" (as I knew it in the Eartha Kitt version)  Whose is this Song? which is now available to buy on video if I really wanted to see it again. 

 For me, films are now both easier and more difficult to see. The huge amount of streaming content and the straight-to-DVD market means I will probably be able to see almost any TFF film currently running - eventually.  On the other hand, I don't go to the movies as much as I used to because I don't live in NYC where there were so many arthouse cinemas to choose from. At some point, trying to strategize by watching films that I don't think will get distribution backfires, because sometimes the reason films don't get distribution is because they're just not that good. That said, with the example of Whose is this Song? in mind, I will make an effort to see some of the more intriguing, less commercial foreign language films  before the streaming festival ends. Some of those films include the documentary about the 2019 protests in Chile, Primera  the experimental narrative feature Roaring Twenties, the Dominican/Haitian documentary Stateless and the Egyptian feature film, Souad. 

I've been trying to get the most out of my streaming pass by watching a lot of movies. Here's what I've seen so far.

Day 1: June 9: Shorts 

While the in-person festival was doing their big premiers and galas, the only available films to stream online were shorts. I watched Almost a Year, Cherry Lemonade, and Enough. I'd recommend all three of these, though Almost a Year was probably the most accessible and well put-together as a short film. Enough is like a long music video, but very thought-provoking. here it is on Youtube. 

Day 2: June 10: See For Me

The first and only feature film available for the Tribeca at Home audience was the Canadian thriller, See for Me. This was quite a good thriller. Sure, it's somewhat predictable, since it's part of a general "heist" genre, but the plotting is believably character-driven, and the characters are different from the types you often see in films in this genre. The central character, a recently blinded professional athlete, is a petulant teen, and her ex-military helper on the assistance-for-the-blind phone app "See for Me" are both completely believable, as is their sometimes failed communication. 

Day 3: June 11:Mark, Mary and Some Other People and 7 Days

This was my rom-com day. These movies both had conventional rom-com elements and were also totally enjoyable films with interesting things to say about love and identity. Mark, Mary and Some Other People is a fun, smart, sexy movie about a young couple who decide to try an open marriage and all the complication that ensues. It's very "of the moment" while also having a bit of a self-conscious 70s throwback vibe, including brief appearances from the characters' wild aunt, who they go to for advice  based on her experiences of "swinging" - played by Leah Thompson.   7 Days about a young Indian-American couple who go on a date arranged by their mothers and are then locked down together in the first days of the Covid-19 pandemic, may be a bit more conventional for the genre, as an odd couple/opposites attract story. However, it was totally charming and has some interesting depth beyond the reflection on arranged marriage. To me, the most interesting element of the story was that both the characters cheat themselves out of what they really want even though they have the opposite response to their parents' wish for them to maintain Indian cultural traditions. One adheres to the most conservative rules and the other rebels against everything, and neither one is able to express who they really are as a result.  

Day 4: June 12: Poser & The Kids 

Poser is a thriller that is mostly an excuse for a showcase of interesting bands in the Columbus, OH indie music scene. The story focuses on a shy young woman who's making a podcast about local bands and her interviews and efforts to belong in a scene that includes performancs by Damn the Witch Siren and lead singer Bobbi Kitten playing herself.  People who have been involved in local music scenes will find a lot in this movie that resonates with their experiences, including those people who hang around on the borders of the scene and may seem a little "off." The script is a bit predictable, but the representation of a music scene is fun. 

The Kids is an in-depth return to the experiences of the non-professional actors, mostly NYC skateboarders, who starred in the 1995 Larry Clark and Harmony Korine fiction film, Kids. This film is the final product of an effort by one of those kids now in his 40s, Hamilton Harris, who wound up working with Austrailian director, Eddie Martin to finally get the movie made. Learning more about the lives of the skateboard crew at the center of the film Kids makes that original film appear even worse in retrospect. While many critics hailed the film's "gritty realism" and described it as a "quasi-documentary," it was more the case as Henry Giroux wrote at the time that the film potrayed the group in a historical, cultural and political vaccuum, as a group of aimless and nihilistic creeps. This film restores the integrity and intelligence of the people it was ostensibly about, such as the girls who hung around in the scene but refused to do the film because of how sexist the script was. This film reveals all the complexity of the world that the movie Kids failed to see. As one twitter user remarked, the film is upsetting and enraging, but I'd argue, worth seeing. Hamilton Harris is a fascinating person in his own right, and his analysis of the period is what drives most of the film.  

June 13: All the Streets are Silent, Claydream and No Man of God 

My first three movie day. I started in the morning with a second documentary about the NYC 1990s skating crew, All the Streets are Silent which was a Tribeca feature from 2020. This is a much glossier representation of the same skateboarding crew, with a focus on the cultural blending of hip-hop, skateboarding, and streetwear in NYC in the 1990s. There's much less here about the lives of the individual scene members, but a lot of cool history of Club Mars (which I was lucky enough to go to when it first opened in 1988) and the Stretch and Bobbito show. 

from the Columbia college radio station and the history of brands Zoo York and Supreme. If you're into skateboarding or 1990s hip-hop, it's a must-see. 

Tribeca's promo refers to Claydream as warm-hearted, and I think that's a great description of the film. It tells the story of claymation animator Will Vinton from his beginnings as a hippie stop-motion filmmaker to his dream of becoming the next Walt Disney, including his great successes with the California Raisins and his ambitious, commercial flop, claymation feature about Mark Twain. 

. The movie shows Vinton's flaws as well as his genius, and will give you another reason to hate Phil Knight of Nike if the sweatshops weren't enough. 

I was hesitant to watch No Man of God because it's a movie about Ted Bundy, and I'm very skeptical of most of those, and because it's going to be released in theaters in August, thus breaking my old rule of avoiding "big" movies at Film festivals.  Luke Kirby is excellent as Ted Bundy, but the overall vibe of the film was like the TV series Mindhunter, except not quite as good. It sees like it was made for people who have already consumed a lot of media about Bundy because it doesn't explain much about his crimes, and makes oblique references to Anne Rule and others who have written about him. My general sense is that there were some interesting ideas here but they didn't quite get fully realized in this movie.